Ektachrome E100 at EI 100, 200, 400, and 800

Discussion in 'Exposure Discussion' started by ME Super, Nov 5, 2018.

  1. ME Super

    ME Super Member
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    Yeah. I couldn't believe somebody tried the new Ektachrome E100 at EI 800. Apparently somebody over on emulsive.org did. I follow Kodak Professional on Facebook, which is how I know about the review. At least from the pictures posted on the review, E100 looks pretty reasonable at EI 800. E100 might become my new indoor available darkness color film.

    Here's a link to the review if any of you are interested: https://emulsive.org/reviews/film-r...-shot-at-ei-100-200-400-800-first-impressions
     
  2. cramej

    cramej Subscriber

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    The sample images are so small you can't really tell how it is at 800. I can see that the color shifted, but otherwise a 1200x766 image tells me nothing. In regards to the author's comment about how pushing the film makes it more saturated, I think he is mistaking contrast and color shifts for saturation. The yellows are dull and the greens and reds shift toward cyan.

    I would consider the results at 400 marginal and 800 unacceptable. It's just a failure to plan if you bring slow film to a dark scene.
     
  3. jawarden

    jawarden Member
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    Ditto. The results at 100 and 200 look good, but the rest look predictably poor compared to film designed for lower light.
     
  4. erian

    erian Member

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    Except that there is no such slide film in production and Ektachrome E100 appears to work much better than Provia 100F above EI 400 (see https://emulsive.org/reviews/experiments-cross-processing-and-pushing-fuji-provia-100f-rdp-iii for the reference). I think it is definitely worthwhile to try this.

    I agree that the samples are too small for any other conclusion.
     
  5. OP
    OP
    ME Super

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    I would have liked bigger samples too, and I did look at the link you posted Erian, before I posted this thread. I've shot Provia 100F at EI 320 with a 2 stop push and it was decent, though too contrasty for a bright, sunny day. If E100 pushes as well as this article makes it look like it does, then it's definitely a lower contrast film than Provia 100F which might make it better for pushing.

    I'd prefer to use something like an Ektachrome 400 or Fuji Provia 400X, but we have to use what's available. That's the big hole in the film world these days, a fast E-6 film. I find the color shift in this review to be acceptable. At the expense of a bit of speed, one could use an 81A (or maybe a bit stronger) to counteract the blue/violet color shift. You'd only lose 1/3 of a stop with an 81A, knocking you down to 640.
     
  6. EMULSIVE

    EMULSIVE Member

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    Yep, that was me, EM :cool:
     
  7. trendland

    trendland Member
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    Would you like to have a second "try" at ISO 64/ISO50 with New Ektachrome 100?:wink:

    with compliments
     
  8. EMULSIVE

    EMULSIVE Member

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    64 maybe, not too sure about 50. Once I get my hands on more I will also be trying a bit of push processing with underexposure, further XPRO/push tests and with any luck, some long exposure photography. That's the plan! :D
     
  9. MattKing

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    Any chance you could do a side by side comparison between the new Ektachrome and some frozen, recent version old Ektachrome?
     
  10. trendland

    trendland Member
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    It is "nearly" the same Matt. And nearly means : I can't see a difference between. I've shot one New Ektachrome some weeks ago. The grain is identical. If you want so : " You may test E100G with that mentioned speeds."

    I guess you question would go in that direction? If it would not be so - we would speak about E200 what would have been reintroduced with the New Name : EKTACHROME 100!:wondering:?

    But this isn't the case.
    with regards

    PS : The next question one may ask : "What is the difference between E100 and E200 " ?:whistling:........
     
  11. Andrew O'Neill

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    Very impressive.
     
  12. EMULSIVE

    EMULSIVE Member

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    I already have: E100G! Well stored but still suffering from age. All things considered, they appear to provide essentially the same results, although I suspect that the film equivalent of pixel peepers would have volumes to say about how they are not!

    I'll be publishing the side-by-side in the next part in my review series.
     
  13. trendland

    trendland Member
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    :wink: ...quite right - I've 2 boxed 20prof. packs frozen E100G in 120 and different 135-36 (100G/GX)
    There is of course a variing difference in colors between E100G 35mm and the New Ektachrome 100
    (in 35mm) but just from my point - sorry perhaps you made other experience : The different color LOOK is so smal that it is like different emulsion numbers of the same Film.
    The difference in colors between a normal E6 workflow with developer kits at home and some superb lab development should be much much higher in comparison between E100G and Ektachrome100.
    The same is with E100GX and Ektachrome100 (GX is more saturated) and the same is with long time
    expired E100G (no frozen condition since years) and New Ektachrome : There you'll have difference from both (grain/colors) but that would be a result caused from storage and expiration of compared
    E100G stuff.

    with regards
     
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  15. trendland

    trendland Member
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    Ähm - just forgetting to state : "night shots," I made also some with my NewEktachrome roll - there might be a difference between old and New Ektachrome in regard of schwarzschild ?
    I can't say (don't met Mr. Schwarzschild.....in the past :D) - so my "white's from light have all the Kind of different colors but Mr.Schwarzschild doesn't show to feel concerned about till Mr. Kelvin phoned me [mixing light]....)
    If you remember reformulation of E100G from the past : It had seen optimazion in regard of schwarzschild effects. May be New Ektachrome is more optimized - that may be possible :wondering:.

    But never mind : To me it isn't a case of urgency my max. exposure is around 30 - 45 sek. and the correct time is via exposure series and not in dialog with Mr. Schwarzschild...:pinch: may be it is a mistake
    but I love such kinds of mistakes:cool:

    with regards
     
  16. DREW WILEY

    DREW WILEY Member
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    Just looks like what it actually is - a badly underexposed shot, barely salvageable because the scene contrast range was probably modest to begin with. Who ya kiddin anyway?
     
  17. dmr

    dmr Member
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    Thanks. Interesting to see how that film behaves when pushed.

    Mine is supposed to arrive Any Day Now and I plan to do one roll cross-processed in C41, just to see how it does. Why? Why not? :smile: I'm gonna send the first roll out to the lab to see how it works, since I don't want to order any E6 chemistry unless I plan on shooting it regularly. I already have C41 chemistry in the fridge and I've cross-processed other slide film using that so it will be a good experience and comparison.
     
  18. faberryman

    faberryman Subscriber
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    There is a reason digital overtook film for low light color work.
     
  19. Helge

    Helge Member
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    Dynamic range drops logarithmically with increasing gain on electronic sensors. Thus highlights are far more likely to blow and become harsh.
    Not so much when pushing film. Dynamic range still drops, bot not as drastically.

    Film takes flash far better, because of the shoulder.

    Flashing film, that is applying biasing light before, during (preferably) or after exposure, will also still help a great deal when pushing. This helps with satisfying the threshold value of the halide and the recombination of halide that has just received enough photons.
    You can also use a Tiffen ultra contrast filter that uses ambient light for somewhat the same purpose. Uncoated lenses are also rising in popularity for the same reason.
    Pushing takes contrast up and flashing lowers it again, while providing bias for the shadows to hold information.

    Bird et al. (1969) did a survey of exactly what factors contribute to the DQE of film. His findings shows us that there is nothing fundamental in halide imaging that holds it back from far higher efficiency than what it has now. Convention and keep-ability (could be fixed with frozen storage and immediate home development) are the main contributing factors in it not happening.
     
  20. twelvetone12

    twelvetone12 Member

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    I recently came across this video that does that

    It is super8 but the difference is noticeable. Too bad it is so expensive, I love(d) E100 in super8 so much.

    EDIT: formatting
     
  21. AstraLovesAstia

    AstraLovesAstia Member
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    Have you shot with Rollei CR200?
     
  22. DREW WILEY

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    If it really is a redux of E100G, all you're doing is lopping off lower tones and dumping them. How much you can afford to lose depends on scene contrast. Push development can only do so much. In the opposite direction, I found that all the later or finer-grained Kodak and Fuji chrome films pull-process quite poorly.
     
  23. jtk

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    Digital has for the last dozen years or so surpassed film in all ways. That's why professionals use it.

    Digital has no problems in highlights or shadows...it's assumed that real photographers will post-process.
     
  24. George Mann

    George Mann Member

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    Somebody's been smoking something pretty strong!
     
  25. Andrew O'Neill

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    I see on facebook Keith Canham has a bunch that he wants to sell... cheaper than shops, he says.
     
  26. Bill Burk

    Bill Burk Subscriber
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    @EMULSIVE ,

    Thanks for doing all the work and sharing a fun article. It felt like I was reading a Pop Photo article from 1974.
     
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